{"id":102556,"date":"2018-06-05T16:29:18","date_gmt":"2018-06-05T21:29:18","guid":{"rendered":"https:\/\/www.premiumbeat.com\/blog\/?p=102556"},"modified":"2018-06-05T16:29:18","modified_gmt":"2018-06-05T21:29:18","slug":"filmmaking-tips-below-the-line","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/filmmaking-tips-below-the-line\/","title":{"rendered":"Here’s What Your Camera Assistant Wants You to Know"},"content":{"rendered":"

In this article, we round up some tips from the filmmakers below the line on how you can set them up for success in your next film or video project.<\/h2>\n

Cover image via Scarc<\/a>.<\/em><\/p>\n

The director may get all the attention, but industry folks know it takes a village to create a professional film. Most advice you\u2019ll\u00a0hear comes\u00a0from the top down, but any well-structured production begins with a strong foundation, and no unit is more solid than the camera assistants. Here’s some advice a few ACs shared with me.<\/p>\n

\n

Have a Plan<\/h3>\n

\"Here's
\n<\/a>Image via guruXOX<\/a>.<\/em><\/p>\n

The cinematographer\u2019s first\u00a0<\/sup>AC is in charge of everything related to the camera. He or she is the first to arrive on set before the director, the DP, or the camera operator and\u00a0ensure that the camera equipment is ready for the day’s shoot.\u00a0 This is a skilled position that requires organization and efficiency.<\/p>\n

Therefore, the first piece of advice for fledgling filmmakers is come prepared<\/em>. That doesn\u2019t mean adjustments can\u2019t happen on set, but having expectations in advance will guide all the first AC\u2019s hiring (will additional crew be\u00a0necessary for certain days, for example), prep the right lenses and gear, and determine point of focus.<\/p>\n

\n

Scheduling Your Day<\/h3>\n

\"Here's
\n<\/a>Image via Evgeniy Kurt<\/a>.<\/em><\/p>\n

As in any relationship, the basis\u00a0on set is trust. Does the crew trust the director? If a set-up is complicated \u2014 but well thought-out, vetted by all the principals, and properly scheduled \u2013 the crew will get behind the director and work harder as a team.<\/p>\n

\n

Moving Parts Need\u00a0Communication<\/h3>\n

\"Here's
\n<\/a>Image via Scarc<\/a>.<\/em><\/p>\n

The director has a vision, a plan, and the trust of the crew. Terrific! With so many departments tasked with\u00a0bringing the director\u2019s vision to life, clear communication from the top is essential\u00a0for coordination and understanding.<\/p>\n

Typically, the first AC and the rest of the assistants will watch a blocking rehearsal to get an idea for camera placement. A director may know (or need consultation with the DP to determine) exactly how\u00a0to handle a particular shot (studio, handheld, Steadicam), and sometimes the talent will determine the blocking, but until all of these decisions are settled, the first\u00a0<\/sup>and second\u00a0<\/sup>ACs can\u2019t go build the camera and communicate the scene’s needs to the dolly grips, gaffers, and key grips \u2014 if they’re necessary for support.<\/p>\n

\n

The Best-Laid Plans<\/h3>\n

\"Here's
\n<\/a>Image via farvatar<\/a>.<\/em><\/p>\n

You\u2019ve got a vision and a plan, and you communicate well with your crew, who’ve placed their trust in you. Now, step away. Honestly, if you are working with a professional cast and crew, the best thing you can do is just let them do their jobs. If you try to micromanage actors instead of listening to their instincts, you\u2019re bound to\u00a0get stilted results. Consult with your DP and get input on how to get the coverage you need as efficiently as possible.<\/p>\n

\n

Snacks and Swag<\/h3>\n

\"Here's
\n<\/a>Image via gnepphoto<\/a>.<\/em><\/p>\n

Finally, remember to feed your crew well, show appreciation, and let them have fun! Here are a few final words from the ACs that tell the tale about food and gifts.<\/p>\n